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Media Measurement

Consumers have more media content, channels and more choice of devices than ever before.

Advertisers, media owners and media buyers need to identify which digital and traditional channels are most successful at attracting the right audiences.

Our audience measurement solution is the trading currency for television (e.g. TV ratings), print, radio, out-of-home, online and mobile media. We track which consumers are using what channel, how they are engaging with content across each medium and what is driving their behavior.

With this detailed view of consumers’ content appreciation our clients not only get ratings of what people are watching or listening to – they also know why. Our cross-media measurement shows what devices your audiences are using for each channel and type of content, and we evaluate your marketing efficiency and performance across the whole spectrum of channels.

We help you optimize your channel selection and content to deliver increased audience engagement, end-to-end.

Read more about Media Measurement

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Success Stories
  • Connecting the dots between digital and traditional media

    Connecting the dots between digital and traditional media

    15.03.2016

    We investigated the role of social media chatter in generating awareness and readership of Vanity Fair’s Caitlyn Jenner issue.

    Vanity Fair is an influential and iconic magazine published by Condé Nast.

    Situation

    Most media planners crave insight and data about how digital and traditional media can work together. The much talked about issue with Caitlyn Jenner on the cover offered us a perfect opportunity to explore this topic. We wanted to investigate what impact, if any, the social media buzz can have on the readership of the July issue in its traditional printed format.

    Approach

    Over a nine-week period, we surveyed 1,798 adults online who said they had read the July issue of Vanity Fair.

    Outcome

    • Four in ten adults who read the magazine first heard about the Jenner cover on social media
    • 40% of adults (ages 18+) who read the July issue had not read Vanity Fair in the previous 12 months
    • Nearly half (47%) of those readers were aged 18 and 34, indicating that the coveted millennials do read print magazines, contrary to the conventional wisdom
    • The big challenge for publishers is generating awareness among these younger readers – and it looks like social media can help with this

    Click here to download the success story

  • Optimizing TV content for a demanding audience

    Optimizing TV content for a demanding audience

    31.01.2016

    Our research helped this TV network shape its new television show featuring a Brazilian icon.

    Situation

    A broadcaster needed information about how viewers would respond to a popular entertainer’s return to the airwaves after a short absence. After the launch of the program, the company wanted to track the audience’s response to its format and content.

    Approach

    We explored social media conversations to determine which elements viewers might value in the show, and how these aligned with the host and the network. A subsequent quantitative study gauged the target audience’s intention of watching the program.

    After the launch, we tracked viewers’ behavior and opinions by integrating social media insights with audience data from the broadcaster and data from our online panel.

    Outcome

    We found that Brazilians were receptive to a new show because television program options during the evening time slot were limited.

    After the launch, we tracked user-generated content on social networks to see what elements of the show were resonating with the audience. This information helped producers strengthen the show’s content.

    Our advice also helped the commercial team to target sponsors with brands that would be a good match for the profile of the program and its audience.

    Click here to download our success story (short version)

    Click here to download our success story (long version)

     

     

Latest insights

Here you can find the latest insights for Media Measurement. View all insights

    • 03/10/17
    • Financial Services
    • Health
    • Consumer Health
    • Optics and Acoustics
    • Media and Entertainment
    • Public Services
    • Retail
    • Technology
    • Travel and Hospitality
    • Automotive
    • Consumer Goods
    • Media Measurement
    • Brand and Customer Experience
    • Consumer Panels
    • Digital Market Intelligence
    • Social Media Intelligence Center
    • Market Opportunities and Innovation
    • Mystery Shopping
    • Promotion and Causal Retail
    • Point of Sales Tracking
    • Point of Sales Analytics
    • Shopper
    • Trends and Forecasting
    • User Experience (UX)
    • Canada
    • English

    Peter Feld joins GfK SE as new CEO

    The Supervisory Board of GfK SE has today appointed Peter Feld (51) as new Chief Executive Officer and Management Board member effective March 15, 2017.
    • 02/03/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Mobile and Location Insights
    • Canada
    • English

    Smartphone Users Spend as Much Time on Entertainment as Texting – GfK MRI Study

    According to new GfK MRI research, today’s smartphone user is just as likely to be seeking mindless entertainment – playing a game or streaming a video – as connecting with friends and family through texting or other modes. 

    • 01/21/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Canada
    • English

    Is it a Netflix world after all?

    Netflix’s recent announcement of their international expansion in 2016 is not unexpected, but still somewhat breathtaking in its scope. While it may seem natural to those in the United States, where Netflix holds a dominant position in the Subscription Video on Demand (SVOD) space and in other early markets where it is a well-known brand, but this latest overseas growth is not as much “a sure thing” elsewhere.

    Eight key concerns for entering developing markets

    Certainly Netflix will enter these new markets with a well-known brand name, which may be less connected to its actual content than to the fact that US-originating digital brands often have a leg-up on local brands. Netflix will generally appeal to affluent, Western-oriented consumers outside of the North American and Western European markets. But Netflix will have a number of concerns when entering these other developing markets that make up much of the dozens being added. These include:
    • Local competitors in the Pay TV or streaming space may themselves have a dominant position. GfK works with a number of providers in the markets in which Netflix has newly launched to understand how their services are consumed. We often see a large cohort of subscribers actively viewing the kind of on-demand content that Netflix dominates in the US. These are consumers who are well served by streaming or on-demand content. For example, local South East Asian player iFlix has already built up an impressive half million subscribers in a short space of time.
    • The streaming rights to local content of interest may be held exclusively by other services.
    • The streaming rights to even Netflix’ own content may still be controlled by other providers, based on older agreements.
    • Netflix’ original, exclusive Western-focused content may not have an appeal in different cultures. Again, GfK’s work in providing Return Path Data (RPD) services have taught us that local content is absolutely crucial in building a strong customer base – even in markets where the kind of Western-oriented programming in which Netflix concentrates is popular. Netflix itself recognizes this by focusing much of its strategy on creating local content for its various markets.
    • There may be local laws regarding a certain level of locally originating content.
    • Internet access in certain countries may be limited across the population or intermittent.
    • The governments or entities controlling Internet access may arbitrarily cut access based on disagreement with content, or may use such power to censor or control what content is offered.
    • In many markets, particularly in APAC, advertiser-supported or illegal websites are often well established as sources for watching video content. So there may be resistance to paying for content that consumers have traditionally accessed by other ‘free’ means.

    Netflix’s big data advantage

    That being said, Netflix has consistently outperformed expectations of industry experts and those in the financial markets. Its daring moves in the past have mostly panned out. And, aside from content, it has an understanding of its consumers – through the use of its own collected big data – with which few of its potential competitors can hope to compare. As for its competitors, frenemies, and partners – some being all three – the growth of Netflix raises questions that only third-party accounting of Netflix can answer. This way their competition or partnership with Netflix is on a more level playing field. What do you think about Netflix’s expansion? Do you see other challenges? I would like to hear your opinion as well.
    For more information, please contact me at david.tice@gfk.com.
    • 06/07/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Connecting with the “connected” TV audience

    With whom, what and how are you “connected” when you watch TV? Gone are the days that TV is a device you switch on to see what is being broadcast. For decades, we were also watching self-recorded content, and today there is an avalanche of online digital video allowing us to view whatever we want, whenever we want. Of the time spent watching video content, 35% is watched on TV live (broadcast as scheduled), 15% time shifted, 21% on demand or broadcaster catch up and 29% from an online website or streamed from an app (UK online adults, GfK Viewscape 2016). And we increasingly consume video on other devices: of all viewing time 65% is watched on a TV set, 20% on a PC/laptop, 7% from a tablet and 8% from a smart phone (UK online adults, GfK Viewscape 2016). Digital video is here to stay and the TV audience is embracing both traditional and new forms of content delivery.

    Just what is a “connected” TV audience?

    These new forms of viewing video are sometimes described as ”connected”. Does that mean that viewers watching traditional broadcast TV are “unconnected”? When I watch television, I am extremely connected, regardless of the source of the content. Once I have found the program I want to watch, I am intensely connected with the story and the characters. I am also connected with my comfortable chair. I occasionally glance on my mobile phone or in the fridge, but these are rare distractions from the big screen. For me TV is like an interactive version of cinema where I focus on the content I have chosen to see and forget about the rest of the world. Why call viewers “connected” based on the source of their content? Does it matter if we watch in a linear or non-linear way? Or does “connected” refer to us as social beings, how we connect to others?

    Understanding the connection with the content

    Some viewers tweet posts about what they watch and update their online profile to let others share in what they are viewing. Personally, I regard this as a waste of time. I might be connected with people in the room while I’m watching TV, but I am not interested in connecting with other viewers online to exchange comments on that program. I prefer to watch TV uninterrupted and unconnected. When watching TV, we create very direct and intimate relationships with the content. I can be absorbed by it, emotionally touched, informed or I simply have a good time. Sometimes I am disappointed, angry or upset. Call me old fashioned. All this happens (offline and online) in my living room, where I am cocooned in the program. The next day I might share my opinion with others, but through my viewing behavior I leave very little traces a broadcaster could scrape off the web. Maybe the distinction between connected and unconnected does not reflect how a TV audience is related to TV content. But “connection” is a key description to understand viewers and their needs. How can broadcasters and other content providers connect with viewers? How can they keep track of what content people feel connected to and what content they would prefer to avoid next time? Sure, broadcasters have access to daily ratings to see the number of viewers, but that does not measure the wants and needs of their audience.

    Content Appreciation

    To connect with a TV audience through research, you need to select a representative group of viewers. You should contact them in the proper way, ask the right questions, and listen carefully to their motivations and reactions. We have set up a system to do so. On an average day, more than 18,000 viewers in the UK, Russia, Ireland, the Netherlands and Flanders combined, tell us what they thought of all the programs they saw the day before. This means one day after the audience ratings are available, you receive the full profiles of what dramas were most entertaining, what news programs viewers felt provided the best information, and what chat shows had the best guests. You know what programs were most talked about. You see unfiltered comments on what the viewers actually thought of all the programs they watched. Using our dashboard, you can benchmark your own content against a relevant selection of your competition. We call this ”Content Appreciation” and we think it is the best solution for broadcasters to connect with their audience. hbspt.cta.load(2405078, 'c67ebd12-0b49-4cfd-887b-b1a892698de5', {});
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